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Alternative & Indie - Released January 19, 2018 | The Limiñanas

We’ve been saying it for years. It’s high time that we celebrated The Limiñanas’ huge talent. The excellent garage and psychedelic made in Perpignan duo are signed with the no less excellent label Trouble In Mind from Chicago. Armored with beautifully muddy guitars and vintage organs, their sixties tainted rock ’n’ roll takes on a new dimension on Shadow People. Produced in Berlin with Anton Newcombe, it’s in the studio of the founder of Brian Jonestown Massacre that Marie and Lionel conceived this new viscerally rock ’n’ roll jukebox. A huge project that welcomes Newcombe (obviously) as well as Emmanuelle Seigner, Bertrand Belin (the lunatic on Dimanche) and Peter Hook (the ex-bassist of New Order). This time round, The Limiñanas are less caustic and percussive and more dreamy and above all psychedelic. In this cyclone of swirling guitars, the tandem and their accomplices orchestrate an electric symphony on which Lionel’s talking voice is not far from Lou Reed’s… On Trois bancs, the Perpignan duo sign their own Venus In Furs, and on Istanbul Is Sleepy, one would think that we were hearing the riff from Waiting For My Man in its end stage. We’ve said it once and we’ll say it again: The Limiñanas are great! © MZ/Qobuz

Alternative & Indie - Released November 16, 2018 | The Limiñanas

Hi-Res Booklet

Alternative & Indie - Released November 17, 2017 | The Limiñanas


Electronic/Dance - Released February 2, 2018 | The Limiñanas


Alternative & Indie - Released April 20, 2018 | The Limiñanas


Alternative & Indie - Released September 9, 2016 | The Limiñanas


French Music - Released October 19, 2010 | Trouble In Mind Records

The first ten seconds of the first song, “The Darkside,” on the Limiñanas' self-titled debut album tells you everything you need to know about the band and the record right away. Simply put, if you think the idea of Serge Gainsbourg and Jane Birkin backed by the Velvet Underground and produced by Liam Watson is a good one, you’re going to love this band and this record. Marie and Lionel Limiñana have concocted a sound and feel that conjure up all kinds of brilliant music; along with the already mentioned artists you can toss in Holly Golightly, the Kinks, Jacques Dutronc, and any number of ye-ye girls of the '60s. Instead of sounding like slavish imitators, though, the duo gives its sound a modern feel and a bit of dangerous fun that helps the record come to life. Avoiding the lo-fi reverb trap, they reach instead for a punchy sound that is built more on fuzztone guitars and vintage echo than it is on tape hiss and overloaded guitars. It’s a choice Billy Childish would approve of and indeed, at times the Limiñanas sound like they were trained at the Childish Institute. The alternately deadpan and peppy vocals (provided by Marie, Mu, and Nadège), the sassy-as-can-be lyrics, the pounding drums, and the simple chords are all pure Billy. Unlike Billy, though, the band isn’t afraid to add updated sounds, acoustic guitars, and instruments other than guitars (most notably sitar on "Tigre du Bengale" and pounding “I’m Waiting for the Man”-style piano on “Funeral Baby”). After a listen to the record, you could argue that the band isn’t really doing anything new and you’d have a point. What they are doing is taking all these vintage elements and creating something that sounds new and different, and that’s not an easy trick to master. Songs like “Tears” and “Mountain” could only exist in 2010 because they combine elements of everything cool that’s happened in rock & roll since 1963. Add the Limiñanas to that list of cool things and hope that this excellent debut album is the first of many to follow. ~ Tim Sendra

Alternative & Indie - Released November 18, 2013 | Trouble In Mind Records

The Liminañas' third album, 2013's Costa Blanca, finds the French duo making some subtle renovations to their sound, bringing in some new elements that help to expand the tightly focused sound of their previous work. While the main thrust is still a lively brand of French pop meets Velvet Underground garage rock, they add more acoustic guitars, stretch out the songs' running times, and generally retreat from short, punchy songs in the direction of songs that take their time to unwind and have more diffuse charms. Whereas most of the duo's older work sounded lifted from a compilation of forward-thinking Continental Nuggets, this time out there are tracks, like the instrumentals "Alicante" and "Rosas," that have a definite deep-cut soundtrack feel that's new and quite interesting. Other tracks explore some new moods, too; the slowly chugging "Votre Coté Yéyé M'Emmerde" has a lot of sinister menace, "La Mélancolie" has a lovely downcast strut that seems perfect for listening to while walking through late-night rain, and "Cold Was the Ground" reaches a level of slow despair they hadn't delved into before. Not all has changed in the Liminañas camp, though. Once again, drummer Marie and bassist/organist Lionel bring in a slew of vocalists (including longtime collaborator MU) to help out, each of them adding a different feel to their songs but sounding great all the same. A few songs stick to the established formula that worked so well in the past, too, like the stomping "My Black Sabbath" and the rambling psychedelic rocker "Liverpool" that ends the record on a high note. Mostly though, the album is a successful blending of the past and present, with every new idea working out just right, with the end result being an album that capitalizes on the Liminañas' many established strengths and sends them shooting off in new directions that prove just as satisfying. ~ Tim Sendra

Alternative & Indie - Released August 14, 2018 | The Limiñanas


Alternative & Indie - Released September 30, 2014 | Trouble In Mind Records


The Liminanas in the magazine